The strength of STALKING AIDAN can be found in its voices, in the myriad of colorful characters speaking the kind of great lines that attract A-list actors to screenplays. These are characters who are mad to talk, mad to fill the silence with their voices, and through it all there is the voice of Aidan, our first-person narrator, hardened and at times detached, like a gumshoe from a Dashell Hammett novel. But Aidan is not a gumshoe. He is an ex-con, having served a sentence for killing his former boss's would-be assassin, now out of the clink and trying to get on with things. Aidan's life seems to be divided into two halves, the world before prison when he raked in two-grand a week as hired muscle and sported expensive Armani suits, and the world after prison where he just wants to make a living and be left alone. Into Aidan's world, like a buzzing fly caught in the ointment, comes a leather-clad motorcyclist, seeming to watch Aidan's every move and thus giving the novel its title. Events begin to escalate, and Aidan's friends and family are caught up in the line of fire. Reluctantly, Aidan is forced to come out of retirement, to return to his violent ways in an effort to balance the scales.
I enjoyed STALKING AIDAN because it is reminiscent of a number of British gangster films, and it even serves up a popular motif of the genre, that of a man with a past forced to return to his violent ways (think Mitchel in LONDON BOULEVARD or Gorodish in DIVA). Of course I am talking about film here, and Stalking Aidan is a novel. Still, the influence of the gangster films cannot be understated. Besides being rife with great dialogue, STALKING AIDAN is also highly cinematic, structured with that kind of slow-burning energy that permeates the best gangland films. The writing is visual, and as Aidan guides us through this world, pointing out the various details of his world, I felt like I was in a ride-along with him en route to a hit. Yeah, I could see Colin Farrell as Aidan ... unless the author has better ideas!